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屈原所创造的香草美人意象,由曹植和陈子昂等人在五言诗中加以继承,成为文人托寓自己不遇的一种常见的表现方式。但从盛唐王昌龄、杜甫以后,这种托寓形式逐渐演变成文人对于不得宠的女性的同情,这种“心理投射”型的作品,成为香草美人传统的新变。这一新变在李商隐的情诗和温庭筠的闺怨词达到最高峰。本文大致梳理这一演变过程,并集中讨论李商隐情诗、温庭筠闺怨词所表达的对女性生命的深切同情所隐含的文人生命虚度的自伤,而这种自伤和晚唐社会的沉滞、政治上的无可作为、大量文人的不遇又具有密切的关系。
The image of vanilla and beauty created by Qu Yuan was inherited by Cao Zhi and Chen Zi’ang in the five-character poem and became a common expression of literary style. However, since the prosperous period of Tang Dynasty, Du Fu, this kind of apartment form gradually evolved into the literati’s sympathy for those who are not favored. Such “psychological projection” type of work has become a new change in the vanilla beauty tradition. This new change in Li Shangyin’s poetry and Wen Tingyun’s girlfriend reached its peak. This article roughly sorts out the process of evolution and concentrates on the self-injury of literati’s life implied by the profound sympathy for women’s life expressed by Li Shang’s hidden love poems and Wen Tingyun’s boudoir poetry, Political inaction, a large number of literati’s inexorable and closely related.